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Fictional Traces

Fictional Traces: Receptions of the Ancient Novel - Volume 1

Marília P. Futre Pinheiro
Stephen J. Harrison
Volume: 14.1
Copyright Date: 2011
Published by: Barkhuis
Pages: 254
  • Book Info
    Fictional Traces
    Book Description:

    The study of the reception of the ancient novel and of its literary and cultural heritage is one of the most appealing issues in the story of this literary genre. In no other genre has the vitality of classical tradition manifested itself in such a lasting and versatile manner as in the novel. However, this unifying, centripetal quality also worked in an opposite direction, spreading to and contaminating future literatures. Over the centuries, from Antiquity to the present time there have been many authors who drew inspiration from the Greek and Roman novels or used them as models, from Cervantes to Shakespeare, Sydney or Racine, not to mention the profound influence these texts exercised on, for instance, sixteenth-to eighteenth-century Italian, Portuguese and Spanish literature. Volume I is divided into sections that follow a chronological order, while Volume II deals with the reception of the ancient novel in literature and art. The first volume brings together an international group of scholars whose main aim is to analyse the survival of the ancient novel in the ancient world and in the Middle Ages, in the Renaissance, in the 17th and 18th centuries, and in the modern era. The contributors to the second volume have undertaken the task of discussing the survival of the ancient novel in the visual arts, in literature and in the performative arts. The papers assembled in these two volumes on reception are at the forefront of scholarship in the field and will stimulate scholarly research on the ancient novel and its influence over the centuries up to modern times, thus enriching not only Classics but also modern languages and literatures, cultural history, literary theory and comparative literature.

    eISBN: 978-94-91431-49-4
    Subjects: Language & Literature

Table of Contents

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  1. Front Matter
    (pp. I-IV)
  2. Table of Contents
    (pp. V-VIII)
  3. Acknowledgements
    (pp. IX-X)
    Marília P. Futre Pinheiro
  4. Editors’ Introduction
    (pp. XI-XXII)
    Marília P. Futre Pinheiro and Stephen J. Harrison

    Numerous sessions of ICAN 2008 were devoted to theNachlebenof the ancient novel in the ancient and medieval worlds, in the Renaissance, and in early modern and modern literature and culture. The papers presented at ICAN 2008 on reception were at the forefront of scholarship in the field, and stimulated scholarly research on the ancient novel and its influence over the centuries up to modern times, thus enriching not only Classics but also modern languages and literatures, and related fields. The three sections into which this book is divided follow a chronological order. The first category (Receptions in the...


    • Ovid and the Novel
      (pp. 3-20)
      Michael von Albrecht

      First of all, I want to exclude large complexes of problems. For instance, in this short paper I will not dwell on the figure of Ovid in novels of the modern age – although this is a very tempting field – because the material is too rich to be treated satisfactorily. Above all, there are many methodological problems: What knowledge does the recent author have of Ovid? What works (which editions?) does he know? Does he know Latin? Which are his intermediate sources? Why did he choose Ovid? To what degree is he influenced by his personal perspective (biography [exile,...

    • Lucilius & Declamation: A Petronian Intertext in Juvenal’s First Satire
      (pp. 21-32)
      Christopher Nappa

      Though Juvenal’s intertextual relationships with his predecessors are a regular topic of scholarly discussion, the influence of Petronius on Juvenal has been more or less ignored, except in the most general terms. In fact, no major English or German commentary on Juvenal even includes the names ‘Petronius’ or ‘Satyrica’ in its index.¹ This paper will argue for a strong Petronian presence in Juvenal’s programmatic first satire. Significantly, this Petronian intertext is intimately bound up with Juvenal’s complex relationship to Lucilius, the founding father of Roman satire.

      The first five chapters of theSatyricabegin during a debate between Encolpius and...

    • The Cosmography of Aethicus Ister: One More Latin Novel?
      (pp. 33-54)
      Michael W. Herren

      The Latin world did not produce many novels, three, to be precise. All of them are thought to owe their existence, to a greater or lesser degree, to Greek antecedents. All three can be classified as ‘erotic novels’, and two (theSatyriconandGolden Ass) are sometimes labelled ‘picaresque’. But as we know, other kinds of novels were written in antiquity in Greek. The Second Sophistic produced theLife of Apollonius of Tyanaby Philostratus, often called aPhilosophenroman, and theTrue Talesof Lucian. The first concentrates on the travels, observations, and conversations of an ascetic sage. The second...

    • Off the Page and Beyond Antiquity: Ancient Romance in Medieval Byzantine Silver
      (pp. 55-68)
      Alicia Walker

      The ancient novel possesses a well-known afterlife in medieval Byzantine literature.² Yet the impact of the ancient and medieval novels on works of art has been less extensively explored.³ This paper considers romance themes in middle Byzantine artistic production, specifically in a domestic censer now preserved in the treasury of the Basilica of San Marco in Venice (Fig. 1).⁴

      The object does not depict a specific narrative from a single ancient or medieval novel. Rather, it displays an iconographic program that resonates with themes prevalent in the Byzantine romances: the couples travel to foreign lands and endure separation, mistaken identity,...

    • The Ismenias passage in the Byzantine Alexander Poem
      (pp. 69-82)
      Willem J. Aerts

      The Byzantine Alexander Poem (BAP) is a unique branch in the tradition of the Alexander Romance. It is a versification of (mostly) versions A and B of the Romance. In the episode of the sack of Thebes by Alexander, a singer called Ismenias tries to dissuade him from destroying the city by referring to Alexander’s godly forefathers, who played a role in Thebes’ history. But he only aggravates Alexander’s irritation. Only version A and BAP contain this episode and the textual transmission of both is bad. Sometimes a reconstruction of A is possible with the help of BAP, sometimes the...

    • A neglected testimonium on Xenophon of Ephesus: Gregory Pardos
      (pp. 83-92)
      Nunzio Bianchi

      In the period of time between the Suda (at the end of the 10thcentury) and the only manuscript of the novel of Xenophon of Ephesus, the Laurentianus Conventi soppressi 627 (at the end of the 13thor beginning of the 14thcentury), no further evidence for this novelist seems to exist. This, at least, is thecommunis opinio, which has become a conviction in many recent studies on the novelist. Due to gaps in the information handed down wholesale and without being checked, a testimony that throws light on the survival and the circulation of the Ephesiaca in Byzantium...


    • Martin Luther and the Vita Aesopi
      (pp. 95-106)
      Carl P.E. Springer

      Martin Luther’s name is not usually mentioned in connection with the history of scholarship on theVita Aesopi. When it comes to famous German scholars of the sixteenth century, one thinks rather of Luther’s colleague at the University of Wittenberg, the humanistically inclined Philipp Melanchthon, who taught and wrote extensively on classical authors such as Hesiod, wrote a preface on ‘The Usefulness of Fables’¹ and recommended that Aesop be read in the Lutheran schools he played such an instrumental role in founding.² Luther’s name has traditionally been associated with indifference if not outright hostility to classical scholarship. In hisLiterature...

    • The Expositi of Lorenzo Gambara di Brescia: A Sixteenth-Century Adaptation in Latin Hexameters of Longus’ Daphnis and Chloe
      (pp. 107-126)
      Heinz Hofmann

      The history of the reception of the Greek novels is characterised by the fact that in several cases a translation in Latin or vernacular precedes the first edition of the Greek text. This holds true for the novels of Achilles Tatius,¹ Xenophon of Ephesus² and Longus, whereas theeditio princepsof Heliodorus (Basel, 1534) precedes the first translations of this novel into French by Jacques Amyot (Paris, 1547) and Latin by Stanisław Warszewicki (Basel, 1552).³ Somewhat different is the case of the first Latin translation of Chariton’sCallirhoeby Johann Jakob Reiske that was published together with theeditio princeps...

    • Converso Convertida: Cross-dressed Narration and Ekphrastic Interpretation in Leucippe and Clitophon and Clareo y Florisea
      (pp. 127-150)
      Elizabeth B. Bearden

      In the dedicatory epistle toLos amores de Clareo y Florisea y los trabajos de la sin ventura Isea, 1552, Alfonso Núñez de Reinoso relates how he happened upon a partial Italian translation of Achilles Tatius’Leucippe and Clitophonin a Venetian bookseller’s shop. Expertly drawing in his reader, he explains:

      me tomó desseo, viendo tan buen nombre, de leer algo en él. Y leyendo una carta que al principio estava, vi que aquel libro avía sido escritto primeramente en lengua griega y después en latina, y últimamente en thoscana y passando adelante hallé que començava en el quinto libro....

    • Did Torquato Tasso classify the Aethiopica as epic poetry?
      (pp. 151-182)
      Michael Paschalis

      In an influential monograph published in 1970 and entitledCervantes, Aristotle and the Persiles, Alban Forcione claimed that ‘in the writings of [Torquato] Tasso … theEthiopian Historyis considered to belong to the genre of epic poetry.’¹ Whereas the chivalric romance had begun to receive severe criticism,² theAethiopica, newly discovered (1526) and published (Basel 1534, by Vincentius Obsopoeus), came to represent ‘an alternative form of prose fiction which satisfied the most rigid standards set for acceptable literature by the classicists.’ Forcione adduced in this respect two important documents of the period: Jacques Amyot’s prologue to his French translation...

    • The Ancient Novel and the Spanish Novel of the Golden Age
      (pp. 183-202)
      Carlos García Gual

      The publication of the Spanish version of Apuleius’The Golden Ass, made in 1513 by the Sevillian humanist Diego López de Cortegana, substantially widened the horizon of possibilities for Spanish literature—which, at the beginning of the 16thcentury, was a notably varied and promising one. Spanish was at the time a thriving and prestigious language in Europe, the tongue of a young and growing Empire, and Spanish fiction books circulated easily and were soon exported beyond the limits of the Peninsular kingdoms. It should be remembered that a few years earlier Fernando de Rojas’La Celestina(1499) had already...

    • Fielding’s Tom Jones as a rewriting of the ancient novel: the second ‘best-kept secret’ in English literature?
      (pp. 203-214)
      Roderick Beaton

      In her paper delivered at the ICAN II conference in 1989, Margaret Doody argued that the debt of Samuel Richardson’sClarissato Heliodorus was ‘the best-kept secret in English literature.’ She argued convincingly that the ‘classic realist’ novel, as it developed in England and France in the eighteenth century, had been in dialogue with and descended from the ancient novel and not, as Ian Watt had influentially claimed as long ago as 1957, an entirely new beginning. This argument was taken much further in Doody’s magisterial study,The True Story of the Novel, which argues for a continuous history of...


    • Sigrid Combüchen’s modern tale Parsifal (1998): Time and Narrative compared with Heliodorus’ Aethiopica
      (pp. 217-226)
      Bo S. Svensson

      In her interesting study of ‘Time and Narrative Technique in Heliodorus’ Aethiopica’, Marília Futre Pinheiro concludes that Heliodorus’ originality is based on his narrative technique. By virtue of his narrative inventiveness Heliodorus occupies a special position in the history of fiction in antiquity.¹ My object for comparing the narrative technique of a master story teller from ancient Greece with a contemporary Swedish novelist, Sigrid Combüchen, is based on a gender related topic – sex and war. Of course there is an important time gap between the two writers. However, both belong to the same world of fiction and are dealing...

    • From Moral Reform to Democracy: The Ancient Novel in Modern Japan
      (pp. 227-242)
      Akihiko Watanabe

      The reception of Greco-Roman classics in Japan has a longer and richer history than many scholars may realize. From as early as the sixteenth century, we have clear documentation of study and publication of Latin materials,¹ including the classics, taking place in Japan, although much earlier cross-cultural contact with the Greek world has also been alleged.² There is solid evidence in any case starting from the late 1500s of Christian missionaries, including those from Portugal, teaching Latin material to Japanese seminarians, and classical reception in Japan may be said to have reached its first peak in the late 16thearly...

  8. Abstracts
    (pp. 243-248)
  9. Contributors
    (pp. 249-252)
  10. Indices

    • Index locorum
      (pp. 253-254)
    • General Index
      (pp. 254-254)